- January 10 2011 Updated Scansion.
- May 10, 2009 – New Post : Bright Star by John Keats, His Sonnet
- March 19 2009 John Donne & his Sonnet Death be not proud… . [This sonnet is so misread by contemporary readers that it might as well be a companion to this post on Shakespeare’s sonnet.]
- Feb. 23 2009 Milton, Blank Verse, and Paradise Lost.
- A companion guide to this one is the Annotated To be or Not to be. Don’t forget to check out some of my poetry while you’re picking my brains – I do write some good stuff. And let me know if this was helpful or if, especially, there’s a question you would like answered. I have written other posts on Iambic Pentameter including guides to the scansion of Iambic Pentameter (with more examples from Shakespeare) and a look at Chaucer’s Iambic Pentameter. I just completed a guide to Shakespearean, Petrarchan and Spenserian Sonnets. I’ve also written a detailed guide to Haiku (if you’re interested). (Further links on other Sonnets are at the bottom of this post.) According to my Stats page, this has become one of my most popular posts; and no one is commenting! Just say hello or thanks – I like hearing from readers.
- February 22, 2009 – If you enjoy Frost, you might like reading Birches along with a color coded scansion of Birches included in my post on Frost’s Mending Wall. To find all the posts I’ve written on Robert Frost, click here.
- April 23 2009: One Last Request! I love comments. If you’re a student, just leave a comment with the name of your high school or college. It’s interesting to me to see where readers are coming from and why they are reading these posts. :-)
What possible use could scansion be?
A masterfully written metrical poem has two stories to tell – two tales: one in its words; the other in its meter. In Shakespeare’s hands, the meter tells us about the writer, the speaker of the sonnet – something we might easily miss.
Meter is of no use to free verse poets or reader’s of free verse. But to poet’s writing meter, it provides a tool, an extra layer of meaning, counterpoint and play. And to readers of metered poetry, knowing that there’s an underlying pattern informs the language and meaning of the poem. In the hands of a skilled poet (Shakespeare, Keats, Wilbur, Frost, Browning), the tension between language and meter is an art form.
I’ll look at other poets and poems, because it’s fun to do, like sleuthing, but I wanted to start with Sonnet 116 because it’s so famous and so frequently misread. These days, I suspect most readers, without a knowledge of meter, would read the poem as follows:
This reading would be acceptable if this were a free verse poem. Since there’s no metrical pattern in free verse one is free to put the emphasis (ictus) wherever one wishes (within reason) , depending on ones subjective interpretation of the poem. But, in Shakespeare’s day, so many variants in so short a space would have landed him in critical hot water with his contemporaries and with the reading public. (In his shorter poems, at least, Shakespeare was much more conservative, leaving the more daring flights of metrical variation to his contemporary, John Donne – who was, regularly, skewered for his turgid meter and blank verse.) But the first line’s two trochaic feet (Let me | not to ) would have been daring even for Donne – (trochaic feet are the reverse of iambic feet in that the stressed syllable is first and the unstressed second). Two such variant feet at the start of a sonnet was practically unheard of. Only one of John Donne’s Sonnets, the most controversial metrist of the day, could be construed to begin with two trochaic feet.
Yet even here, knowing that Donne was a skillful master of diction and meter, one could consider an alternate reading (and one should, whenever diction appears to run against a meter’s pattern):
Stressing the preposition of isn’t as awkward as it might seem. Even in modern speech we sometimes stress the preposition of – as in: Well, you know, part of the fun is getting drunk. It’s a sort of sly tone of voice which, in the case of Donne’s sonnet, fits with his argument. It’s a tone of voice Donne could be angling for, made possible only if one considers the meter. The same can be said of the second line. The temptation is to read Son as strongly stressed and Thy as weakly stressed. But in keeping with the tone of the first line, putting the stress on Thy reinforces that Donne is addressing “Father” and doing so with a direct, knowing tone of voice. There is no way to know whether this is actually what Donne intended, but the reading is reinforced by the poem’s Iambic pattern.
Likewise, there’s a tone to Shakespeare’s sonnet that we miss if we fail to take the meter into account. Here is how Shakespeare most likely expected his sonnet to be read.
- January 10, 2011: I decided to bring this scansion “up to date”. As opposed to before, I’ve left all Iambic feet unmarked so the scansion is less cluttered. I’ve chosen to mark the “weak” Iambic feet, marked in yellow with weak stresses, as Pyrrhic feet, although others might be inclined to mark them as Iambic. The two feminine endings, ne|ver shaken and be taken are marked green. The Spondaic feet are purple.
The sonnet takes on a different tone and, to a certain extent, meaning. Where the first scansion has a sort of elegiac sound to it – a sort of contemplation on love – the second reading gives it a more inflected sound, as if the poet were writing with an unspoken agenda – (Shakespeare was nothing if not a dramatist).
For example, in the iambic version, the line sounds almost defensive: Let me not admit impediments – as if he were responding to some sort of accusation. Don’t accuse me of denying true love. Here is what I believe. In this wise, taking into account the pull of the iambic meter, we are already starting with a very different tone to the sonnet – in keeping with the other sonnets of his collection. They are all written as though in conversation – as though the speaker of the poet were responding to another speaker, or character, whose statements we can only hear through Shakespeare’s responses. Each one is like a monologue in a play.
Consider the change in line two:
The first is how a modern reader usually reads the close of the second line. The second reading follows the Iambic pattern of the sonnet. The second reading, putting stress on the verb – is – adds emphasis to Shakespeare’s argument, emphasis which a modern reading lacks.
At the start of the third line we have another choice:
While a pyrrhic foot isn’t unheard of in sonnets of the time, the iambic reading adds emphasis to the argument of the sonnet. Love doesn’t alter when it alteration finds. The emphasis almost lends a tone of sarcasm or perhaps scorn. Again, the iambic pentameter acts as a sort of prompter, hinting at how the sonnet should be read, in what tone and inflection.
Line five tends to be misread by inexperienced readers, especially when reading unaccented versions of the poem, which frequently print the word fixéd as fixed:
O no, it is an ever fixed mark.
The accented é indicates that the -éd of fixéd makes the word two syllables rather than one. Even in an unmarked edition, however, experienced readers of Iambic Pentameter, simply through familiarity with metrical poems, will quickly hear the missing syllable and instinctively read fixéd as two syllables.
The seventh line is the next that typically diverges between modern readers and the iambic pattern. The iambic reading renders that line as follows:
Notice that, once again, the verb is is accented. While modern readers might read this first foot as being pyrrhic (two unaccented syllables), accenting the verb adds emphasis to Shakespeare’s argument. No, he seems to be saying, it is the ever fixéd mark, it is the star. It almost feels as though he is disagreeing with someone who claims that love isn’t any of these things. And notice too, the -ery of every is elided, making it a two syllable word -though most modern readers would read it this way.
The eleventh line is the next where the emphasis differs between the iambic line and modern readers. Notice the emphasis on his implied by the iambic meter.
It’s the equivalent of saying: His brief hours and weeks won’t alter love! Once again, it’s a difference of emphasis. The iambic reading is more emphatic and more dynamic. Immediately following is a line that most would read as a variant iambic line – reading even as two syllables. Although Shakespeare doesn’t use syncope to change even to e’en, the tradition of eliding these words is well-enough established, especially in poetry of this period, that we can safely do so.
If a line can be read so that it conforms to an iambic pentameter reading, especially in poetry during this period (and for the two centuries following too) then it probably should be read that way. (Note: Robert Frost took to calling these feet loose iambs, by which he meant that a foot could conform to an iambic rhythm depending on pronunciation. It’s a useful term and reflects a convention that metrical poets have known about for hundreds of years.) Anyway, the elision of words in metrical poems is like the performance of trills in baroque and classical music. It was simply assumed that the reader (or performer in the case of music) understood the conventions of the day. Those conventions didn’t need to be spelled out. That was a long time ago, though. Nowadays, those conventions need to be relearned if one wants to read a poem the way it was read in its day. In a similar vein, and during the last thirty years, old conventional practices were relearned and rediscovered in classical music performance. These days, such performances are called Historically Informed Performances. Likewise, reading a Sonnet or Blank Verse passage with an awareness of the metrical pattern underlying it, might as well be called Historically Informed Readings.
[Just as an aside. Tooting my own horn. Helen Vendler states the following: “No reader, to my knowledge, has seen Let me not to the marriage of true minds as a coherent refutation of the extended implied argument of an opponent, and this represents an astonishing history of critical oversight.” Well, I’ve been reading this sonnet (most of them for that matter) in just this fashion for over 20 years. Her book was published in 1997. So, Helen, if you should read this blog, take comfort. You weren’t the first.]
So far, the rhymes have alternated ABAB, CDCD, EFEF. Now comes the final couplet, GG – a Shakespearean Sonnet. Shakespearean Sonnets heat the metal through the first 12 lines then, when the working out of the argument is white hot, he lays it to the anvil and strikes:
If this be error and upon me proved,
I never writ, nor no man ever loved.
My intention hasn’t been to interpret the poem, though some interpretation arises simply by reading it through the lense of meter. Many critics are troubled by the series of negatives in this poem and in its last line – never, nor, no. I’m not as troubled by the negatives. Shakespeare’s last line is almost a dare. I dare you to prove me wrong! Even in offering the possibility that he could be proved in error, he (almost sarcastically) refutes the possibility by offering the impossible retort that proving such an error would mean he never writ and that no man ever loved. Since we know already that he wrote and that men have loved, Shakespeare urges us toward the inevitable conclusion that he will never be proven in error.
The one metrical nicety to notice is in the final line. An iambic reading urges the following:
Notice the iambic emphasis on no. The modern reader might be tempted to gloss over the third foot as pyrrhic (see the “modern” scansion above), putting the emphasis on man. The iambic reading gives extra force to no, lending to the poet’s voice a kind of anger – as if both daring to be proven wrong and contemptuously dismissive of any effort to try. Go ahead, he seems to say, try! Prove me wrong! If you do, then no man ever loved! The equanimity of a modern reading, of an innocent love poem, vanishes. This is a sonnet with a transcendent axe to grind.
Reading the poem by the meter, we discover a very different kind of poem – one of refutation, of a speaker refuting an unspoken argument, not of impersonal definition. In this third post on Iambic Pentameter, I wanted to demonstrate just how powerfully a knowledge of scansion can inform and alter a poem’s meaning. If you have any questions or comments, please post.
February 4rth 2013: I was asked if I could read 116. What follows is about my 21rst try. I wanted to communicate the sense that this is half of an argument, like a speech in one of Shakespeare’s plays. See what you think:
I’ll be examining more poems as time permits – especially Robert Frost.
Follow up posts: